
'He Was A Bad Man': Macaulay Culkin Opened Up About His Estrangement From His Abusive Father As He Confirmed He's Not Spoken To Him In Over 30 Years
Macaulay Culkin was just 6 years old when he first started acting, and as you probably know, he quickly became one of the most famous child stars of all time. While he initially quit the industry at 14, he slowly returned to the spotlight in adulthood — and since then, he has not held back when it comes to his difficult relationship with his father, Kit Culkin.
For reference, Kit quit his job to manage Macaulay's career when he first started to find success in the '80s. In a 2001 interview with New York magazine, Macaulay said that his dad was 'always abusive, but it didn't get really, really, really bad until later on.'
Recalling one instance in particular, he said that his dad denied him a bed to sleep on in an apparent power trip. Macaulay explained: 'I was making God-knows-how-much money, and Kit was making me sleep on the couch, just because he could. Just to let you know who's in charge and just to let you know if he doesn't want you to sleep in a bed, you're not going to sleep in a bed.'
In the same interview, Macaulay also said that Kit would physically abuse him, his mom, and his six siblings.
He doubled down on this during a 2018 appearance on the WTF Podcast with Marc Maron, where he said: 'He was a bad man. He was abusive, physically and mentally — I can show you all my scars if I wanted to.'
Over the years, Macaulay also said that his father kept booking him onto acting projects despite him begging for a break, and he was only able to step away from acting at 14 because his dad was tied up in a custody trial amid his split from Macaulay's mom, Patricia Brentrup.
And during an appearance on the Sibling Revelry podcast on Monday, Macaulay, now 44, opened up even more about how he was treated by his father throughout his childhood as he confirmed that he'd not seen or spoken to him in more than 30 years.
Explaining why he walked away from his child stardom as a teen, Macaulay shared: 'I was tired, man. I was so tired. And the thing is, I remember when I was probably about 11 or 12, I remember talking to my father. And I said: 'I'm getting tired, I think I need a break,' and he goes: 'Yeah, yeah, I'll look into it.' And the next thing I know, I was in the next thing, and the next thing, and the next thing. I was like: 'Oh, I'm stuck. Now, I'm stuck.''
'When I turned 14, my dad and my mom were having a thing, they kind of split up, and I said: 'Great, I quit, now he's out of the picture, I quit. I hope you guys had a good time, I hope you guys all made as much money as you possibly could because there's no more coming from me,'' he went on. 'And that was it. I started taking ownership of myself.'
Prior to his fame, Macaulay said that his parents struggled to make ends meet, and didn't even have enough money to feed the family. When asked how his parents reacted to him stepping away from being the breadwinner, the star admitted that they 'were pretty well set' by that point — and added that his mom and dad were 'too busy fighting each other' to worry too much about his decision.
'Also, I had a certain amount of autonomy,' he pointed out. 'Like: 'You're gonna do this movie,' at that point, I go: 'No, fuck you, what you gonna do?''
Macaulay also enforced this newfound autonomy when it came to the custody arrangement with his father. He recalled: 'During the whole custody thing, I wanted nothing to do with my fucking father. He was just the worst, and the judge was like: 'Well, you have to do visitations with him.' I didn't say this to the judge — I was a smartass, but I wasn't that much of a smartass — but I told my lawyer: 'I'm not doing that.' He's like: 'Well, you'll be in contempt of court,' I go: 'OK, how about I dare this judge to put me in jail for not wanting to visit [my] abusive father. Actually, I'm going to double down on that; I double dare him to arrest the most famous kid in the world…' I never played that card, but that was the one time I kind of played that card.'
When asked about his relationship with his dad now, Macaulay confirmed: 'I haven't spoken to him in what would be about 30-something years. Oh, he deserves it, too. He's a man who had seven kids, and he has four grandkids, and none of them want anything to do with him. As a man myself, I would know that I fucked up, I really must have done something wrong… I have more than an inkling that he does not feel that way. Like, we're wrong, and he's right — he's one of those kind of like narcissistic, crazy people.'
Emma McIntyre / Getty Images for Academy Museum of Motion Pictures
'Me and him were always butting heads; he was a bad man,' Macaulay went on. 'I would take his whooping and stuff like that, but the whole time, I was sitting there going: 'Oh, I'm going to win at the end. I just sit tight, I'll take the whoopings, but I'm going to outlast him; I'm going to win.''
Macaulay added that as far as he is aware, Kit is still alive, and while his older brother once tried to make contact with him at one point, 'it turned sour pretty fast again.'
The star also shared his belief that his father resented him because he'd wanted to be an actor himself but never made it. Macaulay explained: 'Then, all of a sudden, he has this kid that didn't look anything like him — I look a lot like my mother, I don't look like him — and right off the bat, I instantly got the lead stuff in the ballet company, I instantly booked all these things, I think he resented me for that. I think he kind of hated me a little bit for that, so I think that's why he was a little bit harsh with me.'
And while Kit was abusive toward all seven of his children, Macaulay said that he 'took a big brunt of it,' sharing: 'A lot of the time, when I was on the road doing things, it was just me and him, so I was kind of locked in a room with a crazy person. I really took the brunt of it for the family, but they got their licks, too; like I said, he was just a bad guy across the board.'
Jeff Kravitz / FilmMagic, Inc
'He was a son of a bitch; he was bad to his kids, he was bad to his wife, he was the worst person I've ever known in my entire life,' Macaulay concluded, before poignantly adding: 'It super sucks, but I wouldn't be the man, I wouldn't be the father I am today if it wasn't for my experience. At the end of the day, I was like: 'I'm gonna win,' and here I am.'
Macaulay shares two children with his wife, Brenda Song, 3-year-old Dakota and 2-year-old Carson. In the podcast, he confirmed that he and his kids have a good relationship with his mom, who married another man around 15 years ago and now lives on a ranch in Montana.
If you are concerned that a child is experiencing or may be in danger of abuse, you can call or text the National Child Abuse Hotline

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
37 minutes ago
- Vogue
Shop Another Tomorrow's Modern Essentials at 20% Off
Photo: Courtesy of Another Tomorrow If it feels like you never have anything to wear, you don't have to look too far to find mindful additions that'll make your wardrobe work that much harder. For Vogue editors, it's Another Tomorrow. The New York-based label focuses on consciously crafted staples rooted in a sustainable design ethos. Creative director Elizabeth Giardina joined Another Tomorrow in 2020, emphasizing raw material choices that reflect her own edited wardrobe of not just owning fewer but better items, but rather, the best versions of those pieces—and then holding onto them for as long as she can. At Another Tomorrow, you'll find everything from a silk cocoon blouse that can be cinched at the hem or worn loose as a tunic to elegant dresses that can be dressed up or down to organic denim that only gets better with wear. Like Giardina previously told Vogue, she is 'designing for the life that I'm trying to lead, which is a life that's fairly effortless, that leaves time for other things.' Shop a few editor-favorites from the latest collection for less as an Insider, below.


New York Times
37 minutes ago
- New York Times
Justin Bieber's Experimental ‘Swag' Resurgence
Earlier this month, Justin Bieber surprise-released his seventh album, 'Swag,' and it is his most idiosyncratic and musically adventurous release to date. Early in his career, he was a superstar by force, and later by will, or something like it. Now, after a few years out of the spotlight, he's verging toward tastemaker, or at least someone who pays close attention to actual tastemakers. Midcareer artist rebrands are a dime a dozen, but in the current algorithmically-driven moment, rarely do they veer in such uncertain directions. But Bieber's work with the guitar innovator the soul provocateur Dijon, the frisky hip-hop producer Cash Cobain and more indicates a willingness to disrupt his fame a little if it means potentially making something interesting. On this week's Popcast, a conversation about Bieber's tug of war between pop success and R&B passion; how his tabloid life influences his musical directions; and whether any artist can actually navigate the level of fame Bieber has experienced. Guest: Joe Coscarelli, New York Times pop music reporter Connect With Popcast. Become a part of the Popcast community: Join the show's Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@ Follow our host, Jon Caramanica, on Twitter: @joncaramanica. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at or on Apple Podcasts and Spotify.


New York Times
an hour ago
- New York Times
‘Hard Knocks' executive producer says Buffalo Bills' championship window perfect drama for cameras
The Buffalo Bills dodged it for as long as they could. Now the unavoidable is upon them. Bills training camp opens Wednesday at St. John Fisher University, and 'Hard Knocks' is here whether they want it or not. When the groundbreaking reality series launched in 2001, it was considered an honor to be featured. Advertisement That sentiment didn't last long. 'Hard Knocks,' produced by NFL Films for HBO, has won 19 Emmys but carries a stigma now — a weeks-long distraction front offices abhor. The NFL this year had to loosen the criteria to force participation. Buffalo was the first team chosen under the new rules. The Bills are a hot brand, thanks mostly to reigning MVP Josh Allen and five consecutive AFC East crowns. That said, they're relatively dull by usual 'Hard Knocks' standards. The Bills are stable. The culture established by coach Sean McDermott and general manager Brandon Beane has been effective at mitigating friction. NFL Films vice president and executive producer Ken Rodgers, the longtime 'Hard Knocks' steward, still anticipates dramatic stories to tell. He knows a great tale when he sees one. Rodgers has been in charge of 'Hard Knocks' since 2007 and directed the 2015 documentary 'Four Falls of Buffalo' for ESPN. NFL Films has dispatched 35 crew members, led by senior director and suburban Rochester native Pat Harris. Eight cameras will record practices, with 18 to 20 robotic cameras installed in meeting rooms at St. John Fisher and One Bills Drive. Ceiling-tile microphones will be implanted all over the place. Five to eight Bills will wear microphones every day. 'Hard Knocks: Training Camp with the Buffalo Bills' will premiere Aug. 5 and run for five episodes, the final installment airing five days before the regular-season opener against the Baltimore Ravens. To preview the endeavor, Rodgers recently spent some time answering questions from The Athletic about why the Bills were chosen, how producers navigate teams' concerns and why it's better not to have a detailed plan heading into camp. With the NFL loosening up the rules for more and better teams to be eligible for 'Hard Knocks,' why did you choose the Bills? That feeling is there. I don't think, process-wise, that's how it worked. We always look for a different story, a story everyone is curious about. Sometimes, it comes down to what a team is doing to get back on track. That's certainly a really interesting story at training camp, when there's a lot more at stake for teams that are trying to get back on track as opposed to teams that are trying to repeat their success or get one step further. In general, the training camp show has always been more intense with teams that are trying to right the ship. But some of our best shows, certainly the Ravens in '01 and 2010 Jets, who were coming off the AFC Championship appearance, are teams that already have an established identity and feels very comfortable internally. They know who they are. They're trying to figure out how to turn a machine that's already running smoothly up to 11. Advertisement It felt like we had enough years here of an audience outside the Buffalo Bills' fandom knowing the Bills, but not knowing enough about the Bills. They've gotten their national appearances. They've gotten their playoff runs. They've gotten their awards, including last year's MVP. But I don't think enough people know about them and what their philosophy is and what mindset created this current run of success. That's a shame, and it makes me feel like they're the perfect team to expose outside their own fandom. 'Hard Knocks' has a larger, casual fan base than most other NFL programming. It's a workplace drama, and it's about the characters. It's become a series that's about the people, and I think the nation is going to get to know these people in a way that they haven't experienced from just watching them play on Sunday. When the Bills were selected as this year's 'Hard Knocks: Training Camp' team, they didn't put out a press release or announce it on their website or social media. They're known to be doing this against their wishes. How have you handled that dynamic with teams that don't want to do it? I understand it. Even as a filmmaker, I believe in under-promising and over-delivering in our work. I want to be under the radar and surprise people and not have people thinking about us until we air and realize what a great show it is. Almost every coach wants to stay under the radar, but 'Hard Knocks,' to its credit, is so popular that it really raises the profile of the team we feature. It's antithetical to an organization's goals sometimes. But the way I view it — and I think this is exactly how the Bills are treating it — is that the football staff probably doesn't want to travel to Europe for games, probably don't want to play on Thursday nights or Monday nights. If they could, they would play at home at 1 o'clock on Sunday every week. Routines, you know? Doing things as they've always been done. But the National Football League is, in the end, an entertainment business and a licensing business and a fan engagement business. Once you're chosen to play in Europe, once you're playing on Thursday night out on the West Coast, you accept it, you move on, you manage it and you try to maximize that experience. Dan Campbell and Rex Ryan not only welcomed 'Hard Knocks,' but they probably also helped you get after it. Bills coach Sean McDermott is not like those guys. How do you convince him it's going to be OK? My guess is the Bills will utilize the show in that way. They'll embrace the opportunity without letting it distract them. If they had to vote, maybe they wouldn't appear. But football is a game of adjustment, and this is a great opportunity for them to learn how to adjust to a pretty minor thing, when you think about it, and really bring something positive to the community and the fan base. We often say, 'If you want to get where the Bills are going and have been, deep into the playoffs, hopefully to Super Bowls, six cameras on the sideline in practice shouldn't be a problem. The Lions (in 2022) just embraced who they were: 'We're not going to shy away. We're proud of who we are. We're going to show off our culture.' It led to this really great relationship to fans around the country, seeing the Lions be who they are. I have a feeling the Bills are going to be the same way. They're going to be very comfortable. They're not going to be rattled by a couple cameras. They've been under a microscope for years and years now — on a positive side. If anyone is worried, then the worry should disappear pretty quickly because of the culture that's already present. Advertisement Regarding culture, these Bills have done an admirable job of minimizing distractions since Sean McDermott and Brandon Beane arrived. I would even say they were relatively dull last year despite their success and having the NFL's best player. Where's the drama? It will be a different-feeling show because the drama will be elsewhere. It won't be drama in trying to fix what's broken. It's going to be drama in trying to take one small step forward and win that Super Bowl. I guess that's a humongous step, but it's one more step, whereas some teams we feature have to cover a country mile to get back into the race and fight for the division. This won't be a drama of desperation like some training camps are around the NFL. The drama is a self-aware, confident drama in that 'We know who we are, and we know what we have to do. The question is, can we do it?' The stakes are important because they're that close to the ultimate goal. That's great television. What are the typical battles you wage with teams over what you want to show, but maybe they don't? It really comes down to convincing them there really isn't going to be a 'take.' Almost every team we've worked with wasn't worried about things being shown, but being interpreted in a way that might be accurate through one person's eyes, but not the other person's. Then, a week later, it might not matter that the person screwed up because they score a touchdown in the game. That's the drama, how a practice screwup led to triumph in a game. We focus on the promise that we're not going to take a subjective look at this. That solves a lot of the problems. I think back to the unfortunate incident where Chad Johnson was arrested in Miami (in 2012 on a domestic battery charge). We were very clear that we were not going to make any sort of judgment call. 'We're going to show how you deal with this as a team and let everyone else interpret how you dealt with it as they may.' That really worked with (Dolphins coach) Joe Philbin, and it's something we harken back to a lot to illustrate how the truth is never really as dangerous as the interpretation of the event. Most teams are really flexible with the things we show. This is also a relationship between a company that's been around for 63 years in NFL Films and our partners in the league. We've known each other for that long and have made plenty of programming over the years. It's not like asking someone to dance in middle school without knowing if they'll laugh at you. We've been dance partners before. We've had hundreds of conversations. How does producing 'Hard Knocks' differ from a documentary film such as 'Four Falls of Buffalo'? As crazy as it sounds, I can't tell you how much easier 'Hard Knocks' is to do than a documentary like 'Four Falls' because you just react. It's all instinct. You make the show, and then it's over. You don't labor over it in your head. 'Four Falls' was a full year of work and decades of material to make a two-hour documentary. For 'Hard Knocks,' we have seven days to make each hour for five straight weeks. In many ways, they're the exact opposite — quick turnaround, verite, reaction to the present and not a historical piece that takes a long time to muddle through and find the perspective. As stable as the Bills have been, as much continuity as there is from top to bottom within the organization and their ability to limit distractions, 'Hard Knocks' storylines often pivot on the unknown unknowns of training camp. How do you capitalize on developments you can't prepare for? It really is a question of having the discipline of a documentarian and not a narrative writer. We do go into camp with what we think the storylines are, whether it's position battles or players rehabbing from injuries or newcomers trying to prove themselves or MVPs trying to take the next step. There are 90 stories on the roster. But you have to have the discipline to throw out what you thought ahead of time and go with what is actually happening. Advertisement Most teams wonder what our stories are going to be, and they all realize after being on 'Hard Knocks' that we don't have preconceived storylines. What happens in camp are the storylines. We follow that on a person-by-person basis. We don't know who's going to have a bad camp or regress or perform above expectations. You have to be flexible. It's difficult because it's easy to project what you think is a better story, but reality is reality. How do you feel about training camp being on a college campus an hour away instead of at the team facility? One thing that's fascinating to me is that not many go away for training camp anymore. This is an old-school NFL atmosphere, and that's something we haven't shown on 'Hard Knocks' for a while. That fits this team and the city really well. It's about the relationships. It's about how these guys work together and spend their time together. This team is different than most, and this helps to give us a window because they won't be going home every night. They're going to be together, and that provides a type of bonding other teams might not get. When things go a little too smoothly in a training camp, how do you not root for something provocative to happen? Nothing goes perfectly with all 90 players. That's where (late NFL Films boss and Pro Football Hall of Famer) Steve Sabol used to say, 'Training camp is a crucible of emotions.' There's just not enough spots on the team. The offense practices against the defense; one of them is going to perform better. There might not be as much tension on a team level, but training camp naturally gives you a full range of emotions because there are 90 stories, and it's our job to represent even if the camp as a whole is going great that not every individual story will. It's like putting your brain on autopilot. People ask me all the time whether it's better to cover the game when the Bills win or lose, and I always tell them it doesn't matter because something is going to happen. So that's what I'll write about. I don't mean to sound mystical, but it's about being open to the universe. Whatever happens, happens, and we're going to cover it. People always ask us, 'What's going to be on the next episode?' We sort of laugh because whatever it is hasn't happened yet, literally. We don't know! Having that flexibility has to be built in because of the quick production turnaround. There's no time to make up narratives and carefully craft the ups and downs. It happens, then we put it on air, and the easiest way to put it on air is to be true to what the story is. Other people can interpret whether they like this person or not that person, or you liked that speech, or that person is overconfident. Judgments we try to stay out of. We just want to produce an hour's representation of the 300, 400 hours we captured this week. Take it for what it is.